Weekly

“This week, I’m focusing on one of my favourite young artists: Tomas Lundgren. His new exhibition manifests the power of painting. The fact that the human hand is able to formulate ideas and feelings through paint, and the fact that this concept is eternal. Basically, we were all made to appreciate and understand it. This will be Lundgren’s second exhibition at CFHILL, and I think he’s taken a great step forward since the last one. It’s in the nuances, the optical illusion, and the mystery. I think that a wonderful career lies ahead for this brilliant artist.”

— Michael Elmenbeck

Weekly is our own report on what art works are in our minds at the moment.If you're interested in any of the works, please let us know!

Tomas LundgrenReenact I, 2018Oil on canvas270 x 190 cm

“This is an amazing portrait. I could look at it for hours. The sheer size of the piece makes it overwhelming, and the fact that Lundgren spent hundreds of hours capturing this young woman in his studio simply knocks me out.”

Tomas LundgrenSimulacra II, 2017–18Oil on canvas210 x 140 cm

“The word ‘simulacrum’ (plur. ‘simulacra’) refers to something that represents or imitates something else. This is obviously a broken wooden crucifix, maybe from the Middle Ages. Jesus on the cross is a representation of the pain and evil that are inherent to the human condition. This representation of his battered body has endured a second round of abuse, this time by oblivion and decay. New injuries have been added to old.”

Tomas LundgrenUniform 215.677, 2017–18Oil on canvas130 x 92 cm

“Who is he? A man in his thirties, or even in his twenties? His long hair is a mess, and he’s staring defiantly at the viewer. Lundgren found this late 19thcentury “mug shot” in the archives of District Police Commissioner Alphonse Bertillon, who was the father of “criminal eugenics.” This young man was filed among a group of individuals who had been labelled “anarchist.” In this painted portrait, his dignity has been restored.”